Pause for Thought: Quotations for Contemplation

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Christmas gives us the opportunity to pause and reflect on the important things around us - a time when we can look back on the year that has passed and prepare for the year ahead. David Cameron. Christmas Time Opportunity Look. It's not only moving that creates new starting points. Sometimes all it takes is a subtle shift in perspective, an opening of the mind, an intentional pause and reset, or a new route to start to see new options and new possibilities.

Kristin Armstrong. Perspective Mind Sometimes Moving.

98 Best Pause images | Words, Inspirational quotes, Quotes

I like the pause that tea allows. Waris Ahluwalia. Tea Like. The world is a crazy, beautiful, ugly complicated place, and it keeps moving on from crisis to strangeness to beauty to weirdness to tragedy. The caravan keeps moving on, and the job of the longform writer or filmmaker or radio broadcaster is to stop - is to pause - and when the caravan goes away, that's when this stuff comes. David Remnick. Beautiful Beauty Moving On Crazy. For many of us, clean water is so plentiful and readily available that we rarely, if ever, pause to consider what life would be like without it.

Marcus Samuelsson. Life Water Without Like. The next time you see a spider web, please, pause and look a little closer. You'll be seeing one of the most high-performance materials known to man. Cheryl Hayashi. Man Time You Look. He who can no longer pause to wonder and stand rapt in awe, is as good as dead; his eyes are closed.

Albert Einstein. Eyes Good Dead Stand. Sometimes you need to press pause to let everything sink in. Sebastian Vettel. You Sometimes Need Everything. This position is untenable, and there can be no pause in the agitation for full political power and responsibility until these are granted to all the women of the nation. Florence Kelley.

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Women Power Responsibility Political. Top 10 Pause Quotes. View the list. Take a walk with a turtle. And behold the world in pause. Bruce Feiler. Walk World Turtle Take.

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The right word may be effective, but no word was ever as effective as a rightly timed pause. The nonverbal behaviour of the speaker and the prosodic features of her or his speech are distinct during the utterance of the proverb text and the remainder of the discourse. The anticipatory state of participants who are familiar with the genre reaches a peak during the utterance of the text. Upon its termination, such persons will smile, laugh, and settle back into their chairs Briggs And because live performance mostly involves some kind of a present audience, a speaker can throw on it part of the responsibility for understanding and completing the act of quoting.

They have the potential to convey a subtlety not open to written signals which, in their more explicit usages at least, purport to impose a clear separation between differing voices. They can structure informal spoken interaction, dramatised repetition, re-enacted dialogue or, indeed, broadcasts or readings from written text. Gradations of quotedness can be conveyed through tone of voice and by picking up cues from the audience as to whether certain signals need to be more overt.

An explicit and clearly demarcated quote, expected to be recognised, can be indicated in one way, while forms which have sunk more into common usage may be hinted by more gentle changes of tone or timing, and fainter intertextual echoes and allusions conveyed differently yet again. Unlike written quote marks, there is no call for all-or-nothing decision.

Why Do We Quote?

And all this can be done, furthermore, in mid-flow and in subtle and flexible ways, varying at different points during the delivery. The quoted personage is sometimes brought vividly on stage through a host of nonverbal as well as verbal cues, using the manifold devices of dramatic enactment.

In Sierra Leone, Limba story-tellers brought onto the stage the bombastic strutting spider with his boastful and foolish words the narrator both enacting his character and ironically conveying its over-the-top exaggeration , the quiet tones of the shyly peeping deer, wily deceitful leopard, selfish chief, or outwardly modest but secretly scheming girl.

All these voices were represented by the narrator — while at the same time also offering asides, as it were, through his or her own demeanour and tone. The reported words of others are arguably always reconstructed rather than merely repeated — but in performance this is strikingly so. In the citation of evidence, poetic interchanges or rhetorical exposition, a range of muted signals can be deployed both to mark out the words being quoted as — more, or less — those of another and to tinge them with the double-voiced resonance of the utterer who controls this recontextualised occasion.

They can be moulded in delivery to convey whether they are agreed or otherwise, acclaimed, mocked, emphasised, parodied, or belittled — and all without an overt word being added. They can be treated with satire, with irony, with affection. A subtext to what is being quoted can be quietly conveyed, and unspoken but devastating undertones tacitly hinted while ostensibly merely presenting an objective report.

Nor is this just a trivial matter, for such devices can be hugely potent weapons in argument and decision-making. Much can be conveyed by a wink, grimace, sneer, or eyebrow rise. As Barry Truax reminds us, there are neat ways of doing this. Guarded language, carefully controlled pitch range, and absolute rigidity of tempo and dynamics in a speaker may make us skeptical of what the person says.

Adopting multiple stances to the words being uttered is a well-honed feature of speech and dialogue. The quoted words gain depth and inflection in a more directly dramatised way than in written forms and with a wider range of nuance.

Contemplation Of Life Quotes

But it should scarcely surprise us, for the multiple dimensions of live quotation are in fact nothing strange. Indeed it can be argued that the complexity of multiply overlapping and interchanging voices, of degrees of distancing, or of the subtle muddying of the separations between voices can perhaps be conveyed more richly and effectively in the multidimensional somatic resources of speaking than in the more limited frame of writing.

Not that these shades of meaning are absent in written quoting — but they blossom, multi-coloured, in live performance.

This indeed is the main thrust of this volume: the examples so far have thus primarily been from the written, spoken and sung forms where quotation has flourished so strongly over the centuries and across the world. But we should also look briefly at other modes, in particular musical, pictorial and material forms. The live performances just mentioned have already brought us into musical expression, for, in addition to the acoustic qualities of speech generally, quotations in chant and song in particular draw directly on the artistries of sound to make their point.

But, elusive as the topic proves to be, it is also worth taking some account of quotation in music more widely.

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Like poetry, but even more so, music is marked by repeated patterning, in this case across multiple dimensions such as melody, rhythm, harmony, intervals, instrumentation, and dynamics. Varying styles and listeners have different approaches and assessments. The processes are largely shaped by cultural expectations about genre, production and participants, linked in turn to assumptions about what counts as copying, what as creation.

II. Beyond the here and now